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Original Art Books & Ephemera



    C. 1814 Schoolgirl Alphabet Sampler in an Eastlake Frame by Sadie F

    Antique schoolgirl alphabet sampler by Sadie, age 6 in 1814.  Sampler is approx. 8 x 10 in a Victorian tramp art style frame by East lake with hand carved leaves.  The material has a burn in the bottom corner and discoloration overall.  The frame has been rebacked with a new hook.  Shipping number is provided.



    [Two Young Girls at the Fairground] by BAXTER, Doreen, artist

    : , 1957. A Beautifully Framed Ink Illustration With a Pretty Printed Mat Adorned With a Ribbon BAXTER, Doreen, artist. [Two Young Girls at the Fairground] From Wonderland Tales. [n.p., ca. 1957]. Original pen and ink illustration, signed "Doreen Baxter" on lower right-hand corner. Image size: 4 3/8 x 6 7/8 inches; 111 x 174 mm.) Beautifully matted, framed and glazed. (Frame size 10 1/2 x 13 inches; 267 x 329 mm.). Lovely illustration of a fairground scene with two girls and a cat in the foreground either side of a banner. Beautifully framed with a purple flower printed mat and light green ribbon embellishment.



    Walt Disney's Disney Time comic #2 February 5th 1977 by WALT DISNEY STUDIOS

    : , 1977. The Funny Fold of Disneyland in Playtime Fun WALT DISNEY STUDIOS. Original hand-painted artwork for the double center page spread for the Walt Disney's Disney Time comic #2 February 5th 1977. Gouache on artist board. Image size: 9 5/8 x 16 5/8 inches. In fine condition. Together with a copy of Walt Disney's Disney Time comic #2. Matted, framed and glazed. "If you go to school, I expect you have a playtime every morning and one every afternoon. Well, so do our cheerful chums, the funny folk of Disneyland. At half-past ten every morning (I wonder if that's the same time as your playtime) they stop whatever they are doing and go prancing out to the play park. Some of them play football; some play blind man's buff; some play leapfrog and some practise skipping. Oh, all sorts of different games they play - and some pretty pickles they get into! They are a lively lot of scamps! Take Minnie Mouse, for instance. She usually tries to paint a picture... but you can see below the sort of thing that often happens to it! Then there is Goofy. Whenever there's a skipping rope around, it's almost always sure to end up around him! Still, they all have lots of fun, and that's the main thing about playtimes, isn't it? This week, our artist has drawn a mixture of hidden objects. See if you can find a boot, a ball, a cap, a hammer, a bell, a candle and a mile bottle"



    "Arriving by Boat" by RACKHAM, Arthur

    [London]: , 1890. An Original Arthur Rackham Pencil Drawing To The Other Side? RACKHAM, Arthur, artist. "Arriving by Boat" [n.d., n.p., ca. 1890]. Original pencil drawing. Image size: 8 1/2 x 5 inches: 215 x 127 mm. Matted, framed and glazed (frame size: 16 3/8 x 12 3/4 inches; 423 x 323 mm.). In the foreground is a small row boat docked by some steps. One man with a hat and coat on is sitting in the boat and there is a man on the dock holding what might be some fish. One woman is bending down to look at the fish and another woman is climbing the steps. In the background, sketched, are group of people up on the quayside. In our opinion it is quite possible that this pencil drawing was a preparatory sketch for Rackham's first (and rarest) published book: To The Other Side. With Illustrations by Arthur Rackham & Alfred Bryan. London: George Philip & Son, 1893. The text of this book is in the form of a travel brochure, starting with embarkation on the Majestic in Liverpool, sailing to New York, traveling the Eastern seaboard north to Niagara, Boston, Toronto, etc.: then to Chicago: then via St. Paul and Winnipeg to the Pacific, including visits to Yosemite, British Columbia, etc. Rackham's fifteen illustrations, all black-and-white line drawings, were mostly done after photographs (or from other published sources) of Yosemite (two views), San Francisco's Chinatown, Salt Lake City, New York, miners, cowboys, scenes aboard the Majestic, inside a Pullman car, etc., etc. Provenance: from the artist's family. Exhibited at 'The British Art of Illustration' 26th November - 20th December, 1991 (no. 223).



    Johny Martin, Saloon Keeper & "Hoodlum" Owner. Types in Lumber Region, Sketches from Life by BEARD, Daniel Carter

    Michigan, 1893. Watercolor drawing on paper. Signed and dated. Sheet measures 8 3/4" x 7 5/8". This original watercolor drawing by Daniel C. Beard includes four drawings from life of people the artist encountered while visiting Michigan in February of 1893. Around this time, Beard worked as an illustrator for books by Mark Twain, Ernest Crosby, and others. The top half of the drawing includes two watercolor drawings, one color and one black-and-white, of "Johny Martin, Saloon Keeper & 'Hoodlum' owner." On the bottom half are two "types" of the Lumber Region of Michigan, where Beard was visiting. Two capped and bearded men with pipes in their mouth face each other, the elaborate patterns on their clothing competing for the viewer's attention. THe skin and hair on the men's faces is simply yet artfully rendered. This original drawing is in very condition with vivid colors. Daniel Carter Beard (1850-1941) was an American illustrator, author, youth leader, and social reformer. In 1905, he founded the Sons of Daniel Boone, a youth organization that taught American frontier traditions and skills to young boys. In 1910, he merged his organization with the Boy Scouts of America and became actively involved in the Scouts and other youth organizations. This drawing evidences Beard's natural skill as an artist.



    Original Lithograph VIII by MIRO, Joan

    New York: Leon Amiel, 1975. Limited. unbound. near fine. Joan Miro. A single double-page five-color lithograph, unsigned. Page measures approximately 19.25 x 12.5 inches. Printed 1975 in France by Mourlot, and published in New York by Leon Amiel. A near fine copy with several very minor pinholes along the centerfold from where it was sewn. Originally printed in the second volume of Miro's cataogue raisonne. One of 5000 copies. --Cramer 198; Mourlot 1043.



    Hoofed Mammals of the World, by Mochi, Ugo and Carter, T. Donald

    Mochi, Ugo, and Carter, T. Donald, Hoofed Mammals of the World , Charles Scribner's Sons, New York: 1953. 40 folia, paginated with Roman numerals, 80 pages, bound in brown cloth stamped with black and gold. This copy has an inscription on the front flyleaf to Margaret and Charles Leonard in which the Italian artist Ugo Mochi cites Theodore Roosevelt's African Game Trails as "inciting" him. Mochi signed the book a second time on the back of the title-page, where he wrote: "This copy is Number 5 of the first 50 copies released to the public Ugo Mochi." The Scribner's Sons first edition "[A]" is just below. On the half-title, Mochi adorned this presentation copy with one of his famous animal silhouettes, a squirrel cut from black paper, with the title: "Illustration done for the 'American' in 1931." This silhouette has come unglued. Mochi cut his remarkable images from a single sheet of black paper resting on a piece of glass, using only a lithographer's knife. T. Donald Carter, the then Assistant Curator for Mammals at the Museum of Natural History in New York, wrote the text-guide to these families of hoofed animals. Spine bumped at the head and tail, slight fabric loss, otherwise a good and unique, limited presentation copy.



    "Hop-o'-my-thumb went up to the Ogre softly and pulled off his seven-league boots" by RACKHAM, Arthur, artist

    [Sussex]: , 1933. "Hop-O-'My Thumb" RACKHAM, Arthur, artist. "Hop-o'-my-thumb went up to the Ogre softly and pulled off his seven-league boots" [Sussex]. 1933. Original pen-and-ink and watercolor drawing, signed "A Rackham" on lower left-hand corner, for the color plate facing page 28 in the The Arthur Rackham Fairy Book. London: George G. Harrap & Co., Ltd. [1933]. Image size: 9 1/2 x 6 3/4 inches; 241 x 172 mm. (board size: 10 3/16 x 8 3/8 inches: 259 x 212 mm.). Matted, framed and glazed. "Seven-league boots are very tiresome to the person who wears them; so the Ogre now began to think of resting, and happened to sit down on the very rock where the poor children were hid. As he was so tired, and it was a very hot day, he fell asleep, and soon began to snore so loudly that the little fellows were terrified. When Hop-o'-my-thumb saw this he said to his brothers, "Courage, my lads! Never fear! You have nothing to do but to steal away and get home while the Ogre is fast asleep, and leave me to shift for myself." The brothers now were very glad to do whatever he told them, and so they soon came to their father's house. In the meantime Hop-o'my-thumb went up to the Ogre softly, pulled off his seven-league boots very gently, and put them on his own legs: for though the boots were very large, yet, being fairy boots, they could make make themselves small enough to fit any leg they pleased." This illustration was also used on the front panel of the dust jacket on the first trade edition. This is an exceptional watercolor encapsulating everything that Rackham is known for. Here we have an Ogre - wearing a red and white striped bandana on his head with pointed ears, a very long pointed nose and sharp teeth. He is sleeping with a grin on his face, totally oblivious as to what tiny Hop-o'-my-thumb is doing. One of his Seven-league boots is already off his left foot, lying on the ground and Hop-o'-my-thumb is trying to pull the enormous right boot off the Ogre. The Ogre is lying between the roots of an giant tree within a forest of trees and there are little white flowers on the ground around him. In the foreground are six pixie-like children running away from the Ogre, just as Hop-o'-my-thumb told them to do. A truly masterful watercolor, with Rackham using his art to create a time capsule and epitomizing his skill in bringing a moment in time to life. Seven-league boots are an element in European folklore. The boot allows the person wearing them to take strides of seven leagues per step, resulting in great speed. The boots are often presented by a magical character to the protagonist to aid in the completion of a significant task. Mention of the legendary boots are found in: Charles Perrault's Hop o My Thumb (France) and also Jack the Giant Killer (England).



    ORIGINAL ART / Illustrations for The Toronto Telegram Newspaper by DOUG WRIGHT, 3 Cartoons / Framed, Titled TICKYTACKY TOWNSHIP -all Signed ( Nipper / Doug Wright's Family related)( Hamilton / Burlington, Ontario related) by Wright, Doug (signed, Original Art x 3 ) / Toronto Telegram Syndicate

    Ontario: Ontario: Doug Wright / Toronto Telegram (related), 1970, 1st Edition, ORIGINAL ARTWORK, 1970. ---------ORIGINAL ART, 3 pieces mounted and framed and titled TICKYTACKY TOWNSHIP, all artwork is about 5 x 5.5 to 6 inches, all art is in b&w, all 3 pieces have been signed, the top and bottom art has had a TORONTO TELEGRAM SYBDICATE label applied , all art is Very Good+ although the top piece has had a small piece of artist's board applied to the lady's legs which have been re-drawn onto that small piece, I do not know if the title band is Doug Wright produced as it is not signed and is separate from the 3 pieces of artwork, nicely mounted and framed, overall the frame is about 8 x 25 inches, a super little grouping from this very fondly remembered illustrator, Doug Wright actually lived in Burlington, Ontario where this was purchased so this likely came from the Wright family or was from someone who was friends with DW, quite scarce, Nipper is not in these examples but all 3 pieces are typical examples of DW's work, any image directly beside this listing is the actual book and not a generic photo ///SIGNED ---GUARANTEED to be AVAILABLE///. Signed. First Edition. Original Art. Very Good+ ( see Description ). Illus. by Doug Wright.



    Typed Letter Signed with two original sketches by WHITE, Stanford (1853 - 1906)

    New York, 1896. unbound. 1 page on "McKim, Meade & White" letterhead, 10.25 x 8 inches, New York City, March 9, 1896. Written to Melville E. Stone, Treasurer of the Eugene Field Monument Committee, in full: "In answer to your letter of March 26th. It will give me great pleasure to design the cover for the Monument Souvenir Edition of Eugene Field's of field flowers. Do I understand from you that the lettering of the cover will be as follows? Kindly advise me if you wish any change made." White then proceeds to draw two preliminary sketches of what he intended the binding and cover of the souvenir book edition to look like. Note: Melville E. Stone was the founder of the "Chicago Daily News" and had hired Eugene Field as a writer for that publication. Upon Field's death in 1895, Stone set forth a campaign whereby he raised thousands of dollars for the purpose of erecting an extravagant monument in his friend's memory, which was eventually be placed in the Chicago vicinity. The book "Field Flowers: Monument Edition" was released in 1896 and coincided with the inauguration of the campaign to raise funds for the eventual monument. Natural folds; staple holes near the upper left corner; several small inkblots near the date. Very good(-) condition. American architect and partner in the firm of McKim, Meade & White, the frontrunner among Beaux-Arts firms. He designed many structures for the rich and famous as well as several New York City landmarks. White was shot to death by millionaire Harry Kendall Thaw in 1906 at the age of 52.



    Untitled (The Red Fox) by DUMMER, Horace Boylston

    New York: World Book Company, 1923. unbound. very good. View. Ink on paper. Signed. Page measures 7" x 13", image measures 5.75" x 10". An original drawing of a shy fox that served as an illustration for the book "In the North Woods of Maine: The Story of a Winter in the Wilderness Fifty Years Ago", written by E.E. Thomas. Part of the "Pioneer Life Series", the book details the trip taken by the author and his cousin to the primeval forests of Northern Maine. From September to April of 1875, the young duo built a cabin, explored the woods and hunted for food. Horace Boylston Dummer (1878-1945), provided a series of ink drawings to be printed with the adventure tale. Dummer, born and raised in Massachusetts, is known as a Rockport realist and a plein-air painter and was a founding member of the Rockport Art Association. Minor overall wear, pinholes to corners. Includes original editing notes. Entire set of drawings available in our gallery.



    Autographed Letter Signed on New York Tribune letterhead by BRIGGS, Clare A. (1875 - 1930)

    New York, 1915. unbound. 1 page, 8.5 x 5.5 inches, February 8, 1915, acknowledging a request for a drawing, in part: "...Your request for the autographed sketch I gladly enclose herewith..." Accompanied by the original pen and ink sketch on a 2.75 x5.5-inch piece of paper, depicting a young boy helping his baby sister blow her nose. The letter is in very good(+) condition; the drawing is fine. Early American comic strip artist best known for his creation "A. Piker Clerk," which ran as a syndicated strip in the New York Tribune.



    Original Signed Portrait of Leonard Warren by VAN VEEN, Stuyvesant and WARREN, Leonard

    1949. unbound. Original art signed "S.V.V." -- a pencil portrait of opera baritone Leonard Warren, also signed by the musician. 10 x 8 inches, with a hinged cardboard matte measuring 13" x 16." No place, 1949. Very good condition.



    America U.S. From the Collection of D.C. Beard; Sulpher Matches, Candle Extinguisher, Combination Tin Tinder Box by BEARD, Daniel Carter

    1892. Watercolor drawing on paper. Image measures 7 1/4" x 6 7/16". This original watercolor drawing depicts sulpher matches, a candle extinguisher, and the inside and outside of a combination tin tinder box, from the collection of Daniel C. Beard. The drawing dates from 1892, when Beard worked as an illustrator for books by Mark Twain, Ernest Crosby, and others. The choice of subject matter no doubt relates both to his early career as an engineer and surveyor, as well as to his later dedication to the pioneering spirit through his involvement with the Boy Scouts of America. This original drawing is in good condition with a charming yellow border. Daniel Carter Beard (1850-1941) was an American illustrator, author, youth leader, and social reformer. In 1905, he founded the Sons of Daniel Boone, a youth organization that taught American frontier traditions and skills to young boys. In 1910, he merged his organization with the Boy Scouts of America and became actively involved in the Scouts and other youth organizations.



    Fighting Cock #3 by Williams, Walter

    Williams, Walter. Fighting Cock #3 (1964). Original woodcut print in three colors: black, orange and red. 20 in x 24 ½ in (image) 29 in (sheet). Signed by the artist, "Walter Williams 1964 imp." This woodblock print is number 94 of an edition of only 200. IGAS Series No. 62, January 1965. Walter Williams (1920 – 1988) was an African-American painter and printmaker, born in Brooklyn, New York, where he attended the Brooklyn Museum Art School, studying with Ben Shahn, Gregorio Prestopino, Reuben Tam and Victor Candell. Williams held a Whitney fellowship 1955-1956 and, in 1960, he received the National Institute of the Arts and Letters Grant. From 1958 to 1963 Williams lived in Mexico and later in Europe. His works have been shown in the Brooklyn Museum; in the exhibition "Inter-American Art", sponsored by the Mexican government and the U. S. Information Agency; as well as at the New Jersey State Museum and at the Print Council of America's exhibition, "American Prints Today 1959". He said of Fighting Cock #3 , "I did similar prints in 1957 and 1959 under the title Fighting Cock . Being an American negro artist this subject has haunted me for obvious reasons. I have used this composition again for a new block with different colors and have therefore titled this print Fighting Cock #3 . As for what this print stands for, I would like to repeat: ' Let each man who looks at this print decide for himself its meaning.'" Framed, with a wide black mat, in fine condition, a bright fresh image with a searing social history, created in 1964, the landmark year when the Civil Rights Movement culminated in the Civil Rights Act..



    Curious Old Copper and Brass Powderhorn / Old Horn; Sulpher Matches, Candle Extinguisher, Combination Tin Tinder Box by BEARD, Daniel Carter

    1892, 1892. Watercolor drawing on paper. Image measures 7 1/2" x 8 3/7". This original watercolor drawing depicts a copper and brass powderhorn, possibly Dutch, and an old horn from the collection of Daniel C. Beard. The drawing dates from 1892, when Beard worked as an illustrator for books by Mark Twain, Ernest Crosby, and others. The choice of subject matter no doubt relates both to his early career as an engineer and surveyor, as well as to his later dedication to the pioneering spirit through his involvement with the Boy Scouts of America. This original drawing is in good condition with minor chipping on the edges. Daniel Carter Beard (1850-1941) was an American illustrator, author, youth leader, and social reformer. In 1905, he founded the Sons of Daniel Boone, a youth organization that taught American frontier traditions and skills to young boys. In 1910, he merged his organization with the Boy Scouts of America and became actively involved in the Scouts and other youth organizations.



    Phrenological Illustrations, or an Artist’s View of the Crainiological System of Doctors Gall and Spurzheim by Cruikshank, George

    Cruikshank, George, Phrenological Illustrations, or an Artist's View of the Crainiological System of Doctors Gall and Spurzheim, London: Published for the artist by Frederick Arnold, 86, Fleet Street, E.C. 1873. Price Five Shillings, Plain; Seven and Sixpence, coloured. An oblong folio, bound in gilt-decorated full maroon morocco, raised bands, decorated and lettered spine. Collation: [3 initial blanks; dedication page; a signed original pen-and-ink sketch, with two additional sketches superimposed; Cruikshank's Preface to the 1873 edition; 2 pages of text; 6 full-pages of engravings; an original front cover to the first edition bound in after the plates; 3 concluding blanks] A presentation copy from George Cruikshank, with a page of original sketches bound into a signed custom binding by Sangorski and Suttcliffe, London. Signed and inscribed: To W[alter] H[ines] Page with the regard of Geo. Cruikshank, Jan. 12, 1875." A unique variant of Cohn 178, and a presentation copy signed twice by Cruikshank, then a living legend, to the man who later served as the United States Ambassador to Great Britain during the First World War. There is a tag of John Howell, Importer, San Francisco. The hinges have been expertly repaired, a fine copy. Cruikshank's rapier wit was never sharper than when lampooning the pseudo-science of phrenology.



    Susanna (The Foot Bath) by KENT, Rockwell

    New York, 1929. Limited. unbound. Lithograph. Signed in pencil. Image measures 8" x 5.5". Sheet measures 16" x 11.75". Matted with archival corners. This print by Rockwell Kent depicts a woman washing her feet in a river, one leg in the water and the other bent up onto the shore. The background is lush with stylized foliage, and the woman appears to gaze contemplatively at the water in front of her. This image appeared in Kent's 1933 "Rockwellkentiana," and the print is from an edition of 100. It is in good condition with wide margins. It has been professionally matted with archival hinging. Crease in the lower portion of the sheet, not affecting the image. Rockwell Kent (1882-1971) was an American realist painter from Tarrytown, New York. Kent spent his life in a variety of places, including Maine, Newfoundland, Alaska, Greenland, and South America. His paintings, lithographs, and woodcuts often portray aspects of a life lived in nature and are collected today by major museums throughout the country. Kent was also a prolific writer and illustrator who produced several books. This print in a beautiful example of his work.



    [Green, Elizabeth Shippen] Original Watercolor Painting by Elizabeth Shippen Green by Green, Elizabeth Shippen

    Original Elizabeth Shippen Green Watercolor entitled ìClematis XII.î Signed lower right: "ESGE To HC With Love, 1909." This is a full-size watercolor painted and given by Green to her friend and gardener, Henrietta Cozens of Cogslea (residence of J.W. Smith, E.S. Green, Violet Oakley and Cozens in early 1900ís). As per the account of Edith Emerson, friend and eventual curator of Violet Oakleyís estate, Green painted it as a present for Cozens, with a gentle ribbing implied in the title. As the story goes, Cozens, who became quite proficient in her gardening skills for the beautiful estate, at the beginning of her tenure as gardener couldnít quite get the names of the flowers straight. So after misnaming nearly a dozen flowers "clematis," Green came up with this painting of lilies and snapdragons and named it, sardonically, "Clematis XII" as in, the twelfth try at getting the name right. The painting is bright and colorful and in pristine condition, measuring 20î x 15.î.



    Signed Original Drawing by BOUGAS, Nick (1955 - )

    1992. unbound. Outstanding drawing of a demon on a 3 x 5-inch card, no place, no date, 1992. Signed "For Shawn Beast Wishes, Nick Bougas, '92" in his highly ornate hand. Fine. American pop artist, actor, director, and Academy Award nominee.



    Dejah Thoris, Princess of Mars / original mixed media art by Butch Burcham by Burcham, F. Newton ("Butch")

    No Location: Burcham, F. Newton ("Butch"), 2007 Original mixed-media art on heavy art paper by Butch Burcham. Full color. Subject is Dejah Thoris, Edgar Rice Burroughs' Princess of Mars, who appeared most saliently in five Burroughs novels as the love interest of John Carter. Here, Dejah is rather fruitlessly threatening some bad guy aircraft with her knife, though looking very fetching, and not wearing a layered look at all, in the process. See scan. A classic, appealing Burcham Good Girl in this incarnation. 20" x 14" , unframed, fine. Signed and dated in 2007 at lower left corner. F. Newton "Butch" Burcham has lengthy credits in comic book and computer game illustration. He is listed at ERBzine as a Burroughs illustrator for his contributions to the body of published Tarzan illustration, and was interior artist for Pinnacle's vidgame titles "Monsters, Muties and Misfits" (1999) and "Horrors of the Wasted West" (2002), as well as "Conan and the Queen of the Black Coast" (1989). Among his comic credits are "Godzilla, King of the Monsters" (Trendmasters, 1994) and the Harlan Ellison comic book "Cameos" (Dark Wolf #2), various issues of Roleplayer magazine, and many others. L304



    Signed self-caricature by PENNELL, Joseph (1857 - 1926)

    1915. unbound. very good. Exceedingly rare self-caricature, india ink on paper, 8 x 5.5 inches, no place, no date, circa 1915 -- an amusing sketch of Pennell seated before an easel with his back to the viewer, with an ink bottle and discarded papers on the ground nearby; he has signed his name across the canvas he is painting. Light mailing folds with minor mounting remnants on the back; very good condition. American etcher and illustrator.



    Walt Disney's Disney Time comic #8 March 19th 1977 by WALT DISNEY STUDIOS

    : , 1977. The Funny Folk of Disneyland in Watch Out! There Are Painters About! WALT DISNEY STUDIOS. Original hand-painted artwork for the double center page spread for the Walt Disney's Disney Time comic #8 dated March 19th 1977. Gouache on artist board. Image size: 9 1/2 x 16 3/4 inches. In fine condition. Together with a copy of Walt Disney's Disney Time comic #8. Matted, framed and glazed. "This week our chums decided to help one of their friends by painting his house. So they armed themselves with pots of paint and paint brushes and set to work. What a-splishing and a-splashing and a-sploshing of paint there was. And just look at some of the funny things that happened. Rabbit was cheerful enough when he started to paint the chimney pots, but things began to look black (at least his face began to look black) when he got in the way a could of sooty smoke! Kaa, the snake from "The Jungle Book", felt a bit flat - but that was because Bongo Bear accidentally ran over him on his one-wheeled cycle! Do you wonder what Morty and Ferdie got up to? Well, those mischievous little lads got up to the top of the roof! Oh, dear! What will they do next? Still, between them the chums managed to finish the work - although it was mainly thanks to Merlin the magician and his marvellous magic paint brushes! Can you spot this week's hidden objects? They are two burshes, a paint pot, two slippers, two hats and a pipe."



    Design for a portfolio by BUCHHOLZ, ERICH

    [Berlin, n.d.].. Original composition in red gouache, black ink and gold metallic paint, on textured ochre leatherette, mounted on a red buckram slipcase, with inserted red buckram chemise and inner sleeve of white Bütten paper, reinforced with loose panels of cardboard. Painted panel: 368 x 275 mm. (ca. 14 1/2 x 10 3/4 inches). Slipcase: 423 x 325 mm. (ca. 16 5/8 x 12 3/4 inches). This large and majestically impressive handmade portfolio represents a variation of Buchholz’s painted wooden relief, “Roter Kreis im Goldkreis,” of 1922, of which Ingrid Weisenmayer has commented “Der Dreiklang der Farben Schwarz, Gold und Rot steigert die Wirkung der einzelnen Farben noch zusätzlich. Es ist charakteristisch, dass Buchholz, der sich so vehement von jeglicher Kunsttradition distanzieren wollte, auf mittelalterliche Traditionen zurückgreift, und diese in einen modernen Kontext stellt” (Weisenmayer, in Gassen/Mengden). Comparison might equally be made with another painted panel of 1923, Buchholz’s “Neue Tafel Nr. 70.” These and similar motifs were reprised by the artist many times, through late in his career. Slight rippling of the panel at foot; a little light rubbing, otherwise in fine, bright condition.



    "Paradise of Children, The" by RACKHAM, Arthur

    [n.p.]: , 1922. A Superb Original Arthur Rackham Watercolor Drawing for Nathaniel Hawthorne's "A Wonder Book" RACKHAM, Arthur (1867-1939). "The Paradise of Children." London: 1922. Original pen-and-ink and watercolor drawing for the tinted line drawing illustrating "The Paradise of Children" ("Pandora's Box") in Nathaniel Hawthorne's A Wonder Book (London: [n.d., 1922]). Signed and dated at lower right. Image size: 15 x 11 inches (381 x 279 mm.). Matted, framed, and glazed. "Long, long ago, when this old world was in its tender infancy, there was a child, who never had either a father or a mother; and, that he might not be lonely, another child, fatherless and motherless like himself, was sent from a far country, to live with him, and be his playfellow and helpmate. Her name was Pandora. The first thing that Pandora saw, when she entered the cottage where Epimetheus dwelt, was a great box. And almost the first question which she put to him, after crossing the threshold, was this,- 'Epimetheus, what have you in that box?' 'My dear little Pandora,' answered Epimetheus, 'That is a secret, and you must be kind enough not to ask any questions about it. The box was left here to be kept safely, and I do not myself know what it contains.' 'But who gave it to you?' asked Pandora. 'And where did it come from?' 'That is a secret too,' replied Epimetheus. 'How provoking!' exclaimed Pandora, pouting her lip. 'I wish the great ugly box were out of the way!' 'Oh come, don't think of it anymore" cried Epimetheus. "Let us run out of doors, and have some nice play with the other children.' It is thousands of years since Epimetheus and Pandora were alive; and the world, nowadays, is a very different sort of thing from what it was in their time. Then, everybody was a child. There needed no fathers and mothers to take care of the children; because there was no danger, nor trouble of any kind, and no clothes to be mended, and there was always plenty to eat and drink. Whenever a child wanted his dinner, he found it growing on a tree; and, if he looked at the tree in the morning, he could see the expanding blossom of that night's supper; or, at eventide, he saw the tender bud of tomorrow's breakfast. It was a very pleasant life indeed. No labor to be done, no tasks to be studied; nothing but sports and dances, and sweet voices of children talking, or caroling like birds, or gushing out in merry laughter, throughout the livelong day." This charming watercolor drawing depicts life as it was before Pandora opened the "great ugly box"- a wonderfully gentle pastoral scene, with a group of three naked children dancing merrily, without a care in the world, with "the expanding blossoms of that night's supper" hanging heavily on the tree above their heads and "the tender bud of tomorrow's breakfast" growing on the plants in the foreground. "The moment one opens Hawthorne's Wonder Book one becomes aware of the rounding and softening of form in Rackham's work. The modern Pandora of Hawthorne opens her box for the world in 1921, and she is a very living young girl, with breasts just beginning to swell, indicating that Rackham was aware of the undertones of this story which is being retold with every lifetime. In 'The Paradise of Children' from the same text the children are drawn in line, but the washes of colour give them a rotundity of form and a very human life. The point which Rackham is making, surely, is that these are real children, a real Pandora, and not some dream from fairy land" (Fred Gettings, Arthur Rackham, p. 141).

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